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Budapest Festival Orchestra Budapest Festival Orchestra Iván Fischer Conductor Richard Goode / Piano Laura Aikin / Soprano Kelley O’Connor / Mezzo-Soprano Robert Dean Smith / Tenor Matthew Rose / Bass UMS Choral Union Scott Hanoian / Music Director Friday Evening, February 10, 2017 at 8:00 Hill Auditorium Ann Arbor 38th Performance of the 138th Annual Season 138th Annual Choral Union Series Tonight’s supporting sponsors are the Karl V. Hauser and Ilene H. Forsyth Choral Union Endowment Fund, Sesi Motors, and Jim Toy, in honor of Regent Laurence B. Deitch. As Regent Deitch concluded his 24 years of service as a U-M Regent in December, Jim Toy, longtime UMS concertgoer and founder of U-M’s Spectrum Center, wished to honor the outstanding service of Regent Deitch and his advocacy for the human and civil rights of all people with a gift that will support a UMS performance both this season and next. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. The Steinway piano used in this evening’s performance is made possible by William and Mary Palmer. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. The Budapest Festival Orchestra and Richard Goode appear by arrangement with Frank Solomon Associates and International Arts Foundation, Inc. Richard Goode records for Nonesuch. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM Ludwig van Beethoven Symphony No. 1 in C Major, Op. 21 Adagio molto — Allegro con brio Andante cantabile con moto Menuetto: Allegro molto e vivace Finale: Adagio — Allegro molto e vivace Beethoven Piano Concerto No. 4 in G Major, Op. 58 Allegro moderato Andante con moto Rondo: Vivace Mr. Goode Intermission Beethoven Symphony No. 9 in d minor, Op. 125 Allegro ma non troppo, un poco maestoso Scherzo: Molto vivace — Presto Adagio molto e cantabile Presto — Allegro molto assai (Alla marcia) — Andante maestoso — Allegro energico, sempre ben marcato Ms. Aikin, Ms. O’Connor, Mr. Smith, Mr. Rose, UMS Choral Union 3 SYMPHONY NO. 1 IN C MAJOR, OP. 21 (1800) Ludwig van Beethoven Born December 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna UMS premiere: Philadelphia Orchestra conducted by Saul Caston; May 1936 in Hill Auditorium. Snapshots of History…In 1800: · The US Library of Congress is founded in Washington, DC · Christmas Day first becomes a public holiday on an international scale · President John Adams becomes the first US President to live in the Executive Mansion (later renamed the White House) The energy with which the 22-year- was one significant lacuna in this list, old Beethoven threw himself however, and Beethoven began to fill into Viennese music life is truly it simultaneously with his work on the astounding. As he was leaving his Septet: he couldn’t fully be an heir native Bonn for Vienna in 1792, one of Haydn and Mozart until he wrote a of his patrons, Count Waldstein symphony. inscribed the following in the young There is certainly plenty of Haydn and man’s book of souvenirs: “With the Mozart in Beethoven’s first symphony, help of assiduous labor you shall finished a few months after his 29th receive Mozart’s spirit from Haydn’s birthday. But the young composer’s hands.” Thus, Waldstein became the originality is evident from every bar of first person to mention Haydn, Mozart, the music. Beethoven clearly took over and Beethoven in the same breath. where Haydn and Mozart had left off; The prophecy came true: Beethoven and if he remained within the Classical soon became the most talked-about symphonic framework established by musician in the imperial capital, his elders (something he would never equally famous as a composer and a do again in a symphony), he spoke the pianist, courted by the aristocracy and inherited language in such an individual admired by the public. way that no contemporary could fail to Beethoven’s first 20 opus numbers, notice the arrival of a major new voice published between 1795 and 1801, on the musical scene. cover just about every current genre The First Symphony was introduced of instrumental music: two piano at the Court Theatre on April 2, 1800. concertos; sonatas for solo piano, The program was made up entirely for violin and piano, for cello and of works by Haydn, Mozart, and piano; string trios, piano trios, string Beethoven; this was the first time the quartets, quintets, as well as the composers now known as the three Septet in E-flat which became the Viennese classics appeared together most popular of all his works. There on a concert bill. 4 Right at the beginning of his by its almost total lack of harmonic symphony, the indomitable young movement; this stasis contrasts with man made a gesture that has been the hectic pace of the main section. cited ever since as a sign of artistic The last movement starts with independence. The very first chord another delicious Beethovenian joke. of the symphony is one that, instead The theme of the movement, which of establishing the home key as starts with a fast upward scale, is born one would expect, immediately gradually before our eyes (or ears), destabilizes it and leads away from it. as the notes of the scale are piled This surprising opening gambit sets up, one by one, in a solemn “Adagio” the stage for a brilliant movement filled tempo. Once the top note of the with many more musical surprises. scale is reached, the tempo becomes The second movement, in a gently “Allegro molto e vivace,” and there is rocking 3/8 time, uses melodic never a moment of rest until the end. imitation and other contrapuntal techniques to build up its texture from unaccompanied violins to tutti. Haydn and Mozart left out the trumpets and kettledrums from most of their slow movements. Beethoven chose to retain them, but asked them something they were not often required to do, namely play softly. The pianissimo notes of the trumpets and timpani add an element of mystery. The third movement is called “Menuetto,” but its character is more that of a scherzo; in other words, it is not a dance but one of those witty, humorous fast movements that originated with Haydn but had acquired a special significance for Beethoven since his earliest Viennese works. Beethoven liked to base his scherzos on single musical gestures, often consisting of only two or three notes; the treatment of these gestures was full of surprises, sudden key changes, offbeat accents, and other unexpected events. This delightful movement is no exception. Scherzos also have contrasting sections called trios (as do minuets). The trio of Beethoven’s First Symphony is distinguished 5 PIANO CONCERTO NO. 4 IN G MAJOR, OP. 58 (1805–06) Beethoven UMS premiere: Chicago Symphony Orchestra and pianist Wilhelm Backhaus conducted by Frederick Stock; May 1922 in Hill Auditorium. Snapshots of History…In 1806: · The British occupy the Cape of Good Hope · The Lewis and Clark Expedition reaches St. Louis, Missouri, ending a successful exploration of the Louisiana Territory and the Pacific Northwest · Noah Webster publishes his first American English dictionary The first three Beethoven concertos the many unexpected modulations in represent a gradual line of evolution, the movement leads to an expressive gradually moving away from the melody played pianissimo in the Mozartian models and culminating highest register of the instrument. in No. 5, the magnificent “Emperor” It makes use of notes that had only Concerto in E-flat Major. No. 4 seems recently been added to the keyboard; to fall outside that line. It is every bit as it is interesting to observe that revolutionary as the “Emperor,” which Beethoven contrasted the extremely it preceded by three years; yet its tone high range of the melody with a is characterized by a unique mixture left-hand accompaniment that is of cheerfulness and lyricism with extremely low. The effect is magical. occasional touches of mystery. The The second-movement “Andante first movement is gentle yet extremely con moto” is an impassioned powerful. The finale is playful and witty dialog between the piano and the yet has its dream-like moments. And strings that seems to cry out for a in between, there is an “Andante con programmatic explanation. In 1985, moto” that doesn’t resemble anything musicologist Owen Jander interpreted Beethoven ever wrote before or after the movement as “Orpheus in Hades,” the Fourth Concerto. with Orpheus pleading with the Furies The first surprise occurs in the of the Underworld for the life of his very first measure of the concerto. wife, Eurydice. Having won Eurydice The usual orchestral introduction is back, Orpheus broke his vow not to preceded by a piano solo consisting look at her during their way home and of a few simple chords played almost lost her forever. as if in a dream. The orchestra enters Jander supported his claims in a different key, eventually finding by some biographical evidence. its way back to G Major. From here on, An acquaintance of Beethoven’s, the succession of themes follows the composer Friedrich August Kanne, established conventions, but there are was working on an opera based on many irregularities in the tonal plan the Orpheus myth around the time and its harmonic elaboration. One of Beethoven composed his concerto. 6 Kanne, who wrote both the libretto and the score of his opera, included a passage where Orpheus and the chorus of the Furies alternate in one- line speeches very much in the manner of Beethoven’s piano-string dialog.
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